The unveiling of a new A24 documentary, You Can See Everything, has sent shockwaves through both the film world and the public’s fascination with the disgraced Theranos founder. Directed by Lance Oppenheim and filmed in secret over three years by comedian Nathan Fielder, the trailer offers an unprecedented, unfiltered look at Holmes in the weeks leading up to her imprisonment, and it has left audiences deeply unsettled.
A Secret Three-Year Endeavour
According to the studio, the film was captured without public knowledge, with Fielder and Oppenheim spending months gaining the trust of a woman who had already been convicted of four counts of fraud and conspiracy in January 2022. Holmes, who was sentenced to more than 11 years behind bars, began serving her term in May 2023 at a federal penitentiary in Texas and is not scheduled for release until March 19, 2032, according to the Federal Bureau of Prisons.
The documentary’s official synopsis declares that “thirty‑four days before she’s sent to prison, notorious Silicon Valley founder Elizabeth Holmes invites a skeptical film crew to document her every move.” The statement frames the project as an intimate portrait that quickly evolves into a “mind‑bending three‑year journey into the abyss,” a description that hints at the psychological intensity of the footage.
The Trailer’s Shocking Reveal
The teaser, released on a Monday, features Fielder staring intently into Holmes’ eyes while asking probing questions. In a moment captured on camera, Holmes replies, “I don’t have anything to deceive you on,” followed by, “Of course I’m not deceiving you. I’m engaging with you as a human being. Why would I deceive you? There’s no reason for me to do that.” Fielder’s reaction, “OK. Alright. OK, good chat,” and his follow‑up, “You’re being real right now?” underscore the uneasy dynamic that defines the film’s core tension.
Online viewers have mirrored the discomfort shown on screen. Comments on social platforms reveal a mixture of disbelief and anxiety, with one user noting, “I’ve never been so uncomfortable in my life,” and another asking whether Holmes might receive an acting nomination because of the trailer’s intensity. These reactions highlight how the footage has transcended mere curiosity to become a cultural talking point.
Fielder’s Unsettling Approach
Fielder is no stranger to blurring the line between reality and performance. His earlier work on the comedy series Nathan for You and the reality‑driven The Rehearsal often placed ordinary people in elaborate, sometimes absurd scenarios that forced participants and audiences alike to confront uncomfortable truths. For this documentary, he reportedly spent years training to become a licensed Boeing 737 pilot — a detail revealed in the finale of The Rehearsal — to lend authenticity to the project’s experimental edge.
At the Telluride Film Festival screening in Colorado, attendees were required to surrender their phones to locked pouches and were monitored by security staff equipped with night‑vision goggles, underscoring the secretive nature of the event. After the film concluded, Fielder took the stage with Oppenheim, the director of Some Kind of Heaven and the upcoming Chris Hansen‑starring feature Primetime. He confessed, “I really am struggling to this day to understand exactly what I experienced in this. I don’t quite know what I went through,” a candid admission that mirrors the film’s theme of ambiguity.
Release and Reception
Set for a theatrical launch in October, the documentary promises to add a new layer to the public’s understanding of Holmes’ rise and fall. Her incarceration began in May 2023, and the film’s timing — capturing her final days of freedom — offers a rare glimpse into the mindset of a figure who has become synonymous with Silicon Valley’s excesses and ethical failures.
Beyond the film’s artistic ambitions, the project raises broader questions about the ethics of documentary filmmaking when the subject is a convicted felon who has consented to being filmed under conditions that may not fully reflect the power dynamics at play. As the trailer continues to circulate, it invites viewers to consider not only Holmes’ personal story but also the societal fascination with high‑profile scandals and the lengths to which storytellers will go to capture them.
Why it Matters
The release of You Can See Everything underscores a growing appetite for unvarnished, behind‑the‑scenes narratives in an era where celebrity scandals often become simplified soundbites. By granting an unprecedented, three‑year window into Holmes’ life immediately before her imprisonment, the documentary challenges audiences to confront the human complexities beneath the headlines. Its impact will likely extend into discussions about accountability, the role of media in shaping perception, and the moral responsibilities of filmmakers when chronicling the downfall of once‑celebrated innovators.
